Hear what's here and now, starting with Here and Now, a
Lauren Kennedy CD with lots of newish theatre songs. Also here and
now released for the first time is a Betty Buckley album actually
recorded 40 years ago, plus Andréa Burns' debut disc with a mix of
old and new, and decidedly older songs with a Vegas touch by Sandy
Kastel.

There hasn't been much time for cobwebs to grow on the songs
chosen by exciting theatre singer Lauren Kennedy for her second CD,
Here and Now, because she's consciously chosen recent material
by writers of the new generation of musical theatre talent. The album is full of powerful theatrical performances.
Naturally, Lauren chose songs from a couple of shows she's worked on
and others she's admired and discovered along the way. She scores
with all of them, and it's tough to pick just a few favorites.

The
vibrant-voiced vocalist's prior album was a collection of songs by
Jason Robert Brown; two of his songs are on this one, with his
own arrangements and orchestrations. He's on keyboards for his
sarcastic but perky country cutie, "Mr. Hopalong Heartbreak" from
Urban Cowboy (which didn't get a cast album), sassed by
Lauren with high-stepping high spirits. The other Brown song is the serious
and openly emotional "In This Room." It's a powerful duet with
Rozz Morehead, actually recorded a few years ago, sung by these two
at a special occasion for which it was specifically written: the
songwriter's wedding to Georgia Stitt, whose song "My Lifelong Love"
is also on this CD (and she conducts her own orchestration and plays
the piano). It's a delightful story song about pre-teen crushes.

An
intensely dramatic performer, Lauren sometimes tends towards big
belting blasts, and for some there may be moments that border on
overkill, for others it's the thrill of the explosive
climax. But when she holds back with discretion, she can be just as
(or more) effective. One example of that is a real gem, the
easy-to-like "Easy" (Frank Wildhorn and Jack Murphy) from Waiting For the Moon, a musical
about Zelda and F. Scott Fitzgerald that Lauren starred in during its debut New Jersey in 2005. Another
highlight is "Just Not Now" by the very
talented team of Joshua Salzman and Ryan Cunningham from their I Love You Because score. She's also
successful with the spunky, spritely "Spread a Little Joy"
Andrew Lippa wrote for an unproduced project, a musical about that great American heroine,
Betty Boop. Again, it has the benefit of arrangement, orchestration
and keyboard work of Jason Robert Brown, as does the tender "Through
the Mountain" from Floyd Collins.

Lauren will be singing songs from the album today at 5:30 in a
free half-hour concert at the Barnes & Noble store on Broadway and
West 66th Street where the powerhouse singer (who is used to being
further south on Broadway appearing lakeside in Spamalot)
will also be signing the CD for customers.

This is a treasure chest of 21st century theatre songs by a
performer who knows how to dig into the treasure and seems to
treasure it, too.

1967 is a never-before-issued album recorded by Betty
Buckley in that year, when she was a college student of 19.
If you have the mature Buckley voice burned into your brain cells,
you may find yourself saying, "Oh, there's a sample of what
would develop into the dramatic vibrato!" or, "There's a more
commanding turn of phrase or unique choice like the Betty we know."
At other times, you may be so thrown by how much lighter and higher
the voice is that it's hard to enjoy it on its own terms. The more I listen, the more I can get
there, though some tracks are more instantly rewarding. That's
because they have more of the later Buckleyisms in evidence
(Can-Can's "C'est Magnifique") or, conversely, are less
"Buckley-esque" and charm with a rush of youthful zeal (Bye Bye
Birdie's song of serene teen romance, "One Boy").

Certainly there's a more carefree sensibility and easygoing
approach, rather than the microscopic examination of lyrics
expressed with many nuances that mark the artist's later work in
theatre roles and her solo albums. She sometimes is skimming the
surface, just singing the words and notes (and not always with the
greatest of care). High drama and recasting of song structures that
often come with her later work is pretty much absent here. For
example, her "My Funny Valentine" is pretty traditional, just a
sweet, pretty, what-you-see-is-what-you-get calm rendition. It gets
a little passionate near the end and gathers some force. A number
like "Who Can I Turn To (When Nobody Needs Me)" betrays the
inexperience, not very believable in its lack of anguish or
projected loneliness. (Again, one imagines the gravitas and
volcanic emotions she would have brought to it in later years.)

The future diva was already singing in a local club at the time
the recording was made, working with the same trio heard here (pianist Charlie Baxter, bass player John Monaghan, and drummer
Wayland Smajstrala).
There's innocence and youth overwhelming much of this, but that is
not to say it sounds very amateurish or awkward. The confidence and
abilities are clearly apparent. Two years later, she'd land her
first Broadway show, 1776.

The liner notes full of memories
and modesty tell us the songs were all done in one take without any
tinkering. Playbill's Andrew Gans, admitted king of Buckley fans,
adds his awestruck comments and appreciation as well as the history
of tracking down this long-lost recording. Sound quality is clean
and bright throughout the short album (11 tracks, running time just
about 28 minutes). The cover promises "certified hi-fi mono sound"
and, as a nod to the era, this recording has also been issued on
12-inch vinyl in limited numbers.

Is this unexpected issue just a footnote or a fascinating
flashback? Either way, it's an interesting look at the earliest
evidence of the developing style of a woman who'd grow to be a
dynamic entertainer. On its own merits, it's often endearing,
refreshing and disarming, a pleasing prequel.

"A Little Brains, A Little Talent" is just one of the deliciously
delivered songs on Andréa Burns' first solo CD. Her performances
show quite a bit more than a little brains and quite a lot of
talent. The number from Damn Yankees, sparklingly arranged
and orchestrated by Jason Robert Brown, has zing and punch.
Andréa's voice can be brassy, bright or brimming with emotion. Most
of all, it has warmth. She is always focused and connected to the
lyrics, and on a serious song, it's rewarding to find her so fully
using her acting skills as she establishes a basic character and
mood and then details it with with attentive, detailed phrasing that
does not feel studied or labored.

Among the 12 tracks is a character piece created for her by
Lin-Manuel Miranda, writer of the show that's a new addition to her
resume, In the Heights. It's a cutely contemporary number full of
email/instant message shortcut language, "BTW, Write Back." From the belatedly produced 1954
Stephen Sondheim musical Saturday Night, there's "What More
Do I Need?" sung with joie de vivre and abandon. The revue of John
Bucchino songs It's Only Life is represented by the
excellent "Love Quiz." Those who have the cast album from that
show, on the same label just last year, have Andréa singing that
song and might wish for something new instead of the rerun, though
it's nice to hear it with an orchestra rather just piano.

Most tracks have a 20-piece orchestra, which is great.
Exceptions are the first and last tracks: The yearning and
reflective "The Wish" by Dee Carstensen has just piano accompaniment
by musical director Steve Marzullo. A gentle but lovely take on "I
Have a Love" from West Side Story is a nod to the role of
Maria which Andréa has played often, and she is accompanied
sensitively and beautifully just by John Pizzarelli's guitar.

Pop songs sit comfortably beside the theatre songs and one track
is a two-song medley combining the genres just as easily. Kate
Bush's "Man with the Child in His Eyes" leads into The King and
I's "Something Wonderful." Each song presents an understanding
picture of a complex man and fusing them makes sense, with Andréa
painting a clear and sympathetic portrait. Melodrama does not come
into the picture here or elsewhere, as she has a restraint and taste
that allow emotions to bubble to the surface and simmer and be
explored, rather than the easier and less interesting option of
letting them simply boil over.

Produced by PS Classics' Tommy Krasker and Philip Chaffin, who
bring out the best in the songs and singer, with a rich and textured
sound, A Deeper Shade of Red has a rosy glow.

UNDER THE RADAR

This time going under the radar means going for a visit to Vegas,
but with some Broadway songs in the deal.

Las Vegas-based entertainer Sandy Kastel has come up with an
album inspired by entertainers who have performed in the showrooms there.
But don't assume this is all razzle dazzle super-charged, overly
busy arrangements or some kind of cheese factory. The album opens
promisingly with Sandy sailing through a splashy big band bustling
"Come Back to Me" from On a Clear Day You Can See
Forever.

The treatments of trademark songs recall famous versions, but this
is not a copycatalogue. For example, Cole
Porter's "I've Got You Under My Skin" in the middle of a Frank
Sinatra medley uses some of his vocal embellishments and the basic
structure and key parts of the famous Nelson Riddle arrangement for
Sinatra without copying it exactly. Likewise, the "Don't Rain on My
Parade" treatment is clearly following the lines of the Funny
Girl movie arrangement, though with a vocal that doesn't
seriously get the guts of it.

All but two of the 15 tracks were recorded in Nashville with a
huge orchestra, so lush or brassy sounds predominate. Much of this
is breezily good-natured upbeat stuff or sentimental. Though hardly
groundbreaking or innovative, it's kind of plushy and mushy in a
non-demanding, easygoing, easy listening way.

Sandy has a flexible and easy-on-the-ears voice, sounding
kittenish on seductively playful numbers ("Fever"), light and
lighthearted on some uptempo numbers that might be more assertive
vocally, but she tends to leave the brassiness to the brass section.
There's real kick in some of the charts and playing for the
orchestra. For pure Las Vegas self-love, there's the Nevada
nirvana classic "Viva Las Vegas," done with cheer and sounds of a cheering casino crowd.
Because "Luck Be a Lady" is about gambling and dice, it's
a natural fit here, and the Guys and Dolls number also brings
up the show tune count.

Cozy, well-phrased takes on "Misty" and "My Funny Valentine" are
the highlights on the serious side. They are the two tracks without
the orchestra, just featuring a trio of piano, bass and sax. I also
kind of like "Strangers in the Night" taken sincerely. But for snap
and energy, the big band treatments are perky pick-me-ups.

Coming before the end of the year: new cast albums, songwriter
collections, more vocals and, of course,
holiday music.